Ok, Andreas, this is up. Sounded fine to me. One little thing....next time you submit a recording, can you please tag and name it properly? There is a 'sticky note' at the top of this Audition room forum that explains how to do that. It saves us time in processing submissions. Thank you
Thank you for your advices, Monica. Chris already reminded me above and I assure you I will try my best to make perfect tags next time. Sorry, that I didn't note your topic only since it was too late (I already had posted my recordings.)
I loved listening to this P & F in F#. The prelude has a festive quality to it and in the coda the cadencial close with the ornament is very beautiful. The fugue is animated and very uplifting throughout. Both are very ingratiating pieces. Excellent playing!
Thank you, David, for your appreciated and encouraging words!
I agree also to your attributes characterizing the mood of the pieces.
I listened to your prelude and fugue, there is clarity in both recordings and I enjoyed listening to them.
Thanks for your appreciated comment, Riley!
For criticism, I thought in the beginning sounded to soft, almost mp to my ears. Your ending is powerful and perhaps you are trying to build the dynamics to the end?
That's interesting. I didn't notice that. Indeed, may be at the beginning I was in a more lyrical mood that at the end. May be I should overhaul my interpretation concerning that aspect.
On the other hand it's also a nice idea to augment the dynamics to the end in the sense of a final climax.
imagine the score doesn’t have any rests, just moments of less note density (I assume this of all bach pieces I played one of his inventions last semester and it was the case with it).so it is impressive to me that you were able to keep your energy till the final cadence.
Yes, indeed so it is. There are places in which one of the voices has a break and there is less density of notes. The inventions also are like this, but have another form than the fugues. (Whereas there are some preludes in WTC in invention-stlye.)
Thanks for the praise. One of my most important aims while playing fugues is to bring the structure (form) to consciousness also by playing the subject in many of the cases a bit more intensive than the counterpoints.
Happy New Year, look forward to more recordings from you
Thank you, Riley, I'm also looking forward on more recordings from you (may be you will have another new nice composition for me to play). Have a Happy New Year, too!
Very good as always! If I should add any criticism (kind of the purpose of the forum right?) it would be that sometimes, I have the feeling that the different melody lines are competing rather than cooperating. But this is also a matter of taste.
The way I like it, is that a) they work together and share dynamics, crescendos and this usually works best in forte passages or b) give each other room so that one is dominant over the other(s). Very difficult, I know and of course, Bach himself could hardly do that on the instruments he had. But now when we have the piano...
Thank you for your praise and inspiring ideas, Robert!
In every case we should use the advantages of modern piano today when playing Bach on such expensive devices (and not on these cheap harpsichords, organs
). My aim always is to bring out the structure (form) by underlining subjects by playing most of them a bit louder than the counterpoints, on the other hand there also often are beautiful respective meaningful counterpoints I like to underline the same way (here I take back the subject). For me playing Bach-fugues on piano is like puting spotlights on certain elements (motifs, subjects, counterpoints) while bringing out in the same moment the psychical structures behind the formal structures by dynamics, articulation and agogics. For me most of the fugues are like dialogues between different people and there are moments of "competing" and of "cooperating", which indeed depends on the psychical moment of the music (which is subjective, of course). May be the impression of "competing" here in this interpretation is dominant because I do quite a lot things concerning "within-differentiation" of voices in that fugue.
A Happy New Year to you! Very nice you commented on my recording.